Greek Tragedy and the Contemporary Actor

This book offers a provocative and groundbreaking re-appraisal of the demands of acting ancient tragedy, informed by cutting-edge scholarship in the fields of actor training, theatre history, and classical reception. Its interdisciplinary reach means that it is uniquely positioned to identify, interrogate, and de-mystify the clichés which cluster around Greek tragedy, giving acting students, teachers, and theatre-makers the chance to access a vital range of current debates, and modelling ways in which an enhanced understanding of this material can serve as the stimulus for new experiments in the studio or rehearsal room. Two theoretical chapters contend that Aristotelian readings of tragedy, especially when combined with elements of Stanislavski's (early) actor-training practice, can actually prevent actors from interacting productively with ancient plays and practices. The four chapters which follow (Acting Sound, Acting Myth, Acting Space, and Acting Chorus) examine specific challenges in detail, combining historical summaries with a survey of key modern practitioners, and a sequence of practical exercises.

Winner of the 2020 Rob Jordan Prize Takes a uniquely critical stance towards traditional authority figures (Aristotle and Stanislavsky) in relation to the teaching and practice of Greek tragedy Addresses contemporary theatre/acting students and theatre-makers, focuses on their priorities and needs, and asks how past practices can inspire innovative new approaches Combines theatre history and contemporary theory with practical prompts for studio and rehearsal-room exercises

Autorentext
Zachary Dunbar is Senior Lecturer in Theatre and Performing Arts Graduate Research Convenor at Victorian College of the Arts, University of Melbourne, Australia. He is a concert pianist, freelance director, writer, and composer with several UK and Australian productions. He publishes on music theatre, theatre history, and Stanislavski studies.
Stephe Harrop is Senior Lecturer in Drama (Shakespeare and the Classics) at Liverpool Hope University, UK. Her research focuses on responses to ancient Greek tragedy and epic, the traditional arts in modern theatre-making, and contemporary storytelling practices. She is an associate of the APGRD (University of Oxford), and also works as a performance storyteller.

Inhalt

1. Introduction.- 2. The Aristotelian Legacy.- 3. The Stanislavski Legacy.- 4. Acting Sound.- 5. Acting Myth.- 6. Acting Space.- 7. Acting Chorus.- 8. Conclusions.